The play began humorously, with Geraint Wyn Davies entering the stage chuckling about something dumb he had seen on his cell phone. He delivered an introduction which ended with the usual admonitions to the audience about silencing their devices. It was a clever way to convey the warnings in the guise of the script, and a sign that a play that premiered in 1777 could be kept modern. A reference to Steve Bannon surfaced during the play, and the cell phone reappeared at the play's end.
All was not modern, however. The set and costumes were lavishly in-period. The clothing--powdered wigs, large dresses, formal coats and outfits--was beautiful, a perfect fit for this eighteenth-century piece. The set was sumptuous and efficiently designed, allowing for easy transitions between home sitting room and tavern. Bravo to the designers and crew for their masterful efforts!
The cast was top-notch, as I have come to expect of Stratford. Geraint Wyn Davies was excellent as Sir Peter Teazle, displaying genuine emotion in his performance. Whether it was sputtering speechlessness or red-faced laughter, he solidified his position as a certain Stratford draw. Several members of the cast had appeared in the other plays I had seen on the trip. Tom Rooney turned the comic double, as Tartuffe the night previous and Sir Benjamin Backbite in this work. Joseph Ziegler, also Timon of Athens, was Sir Oliver Surface. Both were tremendous in their roles, and they caused me again to tip my hat to actors who can keep multiple major roles straight from one day to the next--impressive indeed!
Two other actors deserve note. Sebastien Heins as likeable lout Charles Surface and Johnathan Sousa as his drinking buddy Careless were excellent in their second year as members of the Stratford company. I was able to see both in their debut performances in last year's Breath of Kings production. It was great to see them this year, both in this work and in their other roles (Heins in Timon and Sousa in Tartuffe). The tavern auction scene was a comedic highlight of TSFS. Both have bright futures. Here's to many more years on Stratford's stages!
The play was enjoyable, although I will admit that it seemed to drag a bit in the first half. The story, with its numerous sub-plots and intrigues, does get convoluted, and some of it was lost in translation. The comedy was unmistakable, however, and the dramatic irony was humorous. For a play set in the eighteenth century, a story about gossip and scandal is every bit relevant today and allowed the play to keep the audience engaged.
And so concludes 2017's Stratford excursion. Hopefully 2018 will prove to be as enjoyable an experience!
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